Theory for Today's Musician, Third Edition, recasts the scope of the traditional music theory course to meet the demands of the professional music world, in a style that speaks engagingly to today's music student. It uses classical, folk, popular, and jazz repertoires with clear explanations that link music theory to musical applications.
Theory for Today's Musician, Third Edition, recasts the scope of the traditional music theory course to meet the demands of the professional music world, in a style that speaks engagingly to today's music student. It uses classical, folk, popular, and jazz repertoires with clear explanations that link music theory to musical applications.
Ralph Turek is a theorist, composer, author, jazz pianist, Professor Emeritus at The University of Akron, and a veteran of 35 years of teaching in the music theory classroom. Daniel McCarthy is a familiar name in contemporary American music. As a composer, he has received distinguished faculty research/creativity awards at Indiana State University and The University of Akron, where he is Chair of the Composition and Theory Section in the School of Music.
Inhaltsangabe
PART ONE: IN LIEU OF FUNDAMENTALS 1 Assorted Preliminaries 2 Intervals PART TWO: DIATONIC HARMONY 3 Basic Harmonic Structures 4 Musical Shorthand: Lead Sheets and Figured Bass 5 Harmonies of the Major and Minor Scales 6 Cadences Harmonic Rhythm PART THREE: MELODY 7 Melodic Pitch and Rhythm 8 Embellishing Tones 9 Melodic Form PART FOUR: VOICE LEADING 10 Melodic Principles of Part Writing: The Outer-Voice Framework 11 The Melodic Factor in Four-Voice Part Writing: Voicing and Connecting Chords 12 The Chorale: Part Writing with Root-Position Triads 13 Part Writing with Triads in Inversion 14 Part Writing Seventh Chords PART FIVE: BASIC CHROMATIC HARMONY 15 Secondary Function I 16 Secondary Function II 17 Modulation I PART SIX: COUNTERPOINT 18 The Art of Countermelody 19 The Fugue PART SEVEN: ADVANCED CHROMATIC HARMONY 20 Mixing Modes 21 Altered Pre-Dominants 22 Other Chromatic Harmonies 23 Modulation II 24 Harmonic Extensions and Chromatic Techniques PART EIGHT: FORM 25 Binary and Ternary Forms 26 Sonata Form 27 The Rondo PART NINE: MUSIC IN THE TWENTIETH CENTURY AND BEYOND 28 Syntax and Vocabulary 29 New Tonal Methods 30 Non-Serial Atonality 31 Serial Atonality 32 Harmonic Principles in Jazz 33 The Blues 34 Shaping a Song Appendix A: Pitch Appendix B: Rhythm Appendix C: Lead-Sheet Symbols Appendix D: Part Writing Guidelines
PART ONE: IN LIEU OF FUNDAMENTALS 1 Assorted Preliminaries 2 Intervals PART TWO: DIATONIC HARMONY 3 Basic Harmonic Structures 4 Musical Shorthand: Lead Sheets and Figured Bass 5 Harmonies of the Major and Minor Scales 6 Cadences Harmonic Rhythm PART THREE: MELODY 7 Melodic Pitch and Rhythm 8 Embellishing Tones 9 Melodic Form PART FOUR: VOICE LEADING 10 Melodic Principles of Part Writing: The Outer-Voice Framework 11 The Melodic Factor in Four-Voice Part Writing: Voicing and Connecting Chords 12 The Chorale: Part Writing with Root-Position Triads 13 Part Writing with Triads in Inversion 14 Part Writing Seventh Chords PART FIVE: BASIC CHROMATIC HARMONY 15 Secondary Function I 16 Secondary Function II 17 Modulation I PART SIX: COUNTERPOINT 18 The Art of Countermelody 19 The Fugue PART SEVEN: ADVANCED CHROMATIC HARMONY 20 Mixing Modes 21 Altered Pre-Dominants 22 Other Chromatic Harmonies 23 Modulation II 24 Harmonic Extensions and Chromatic Techniques PART EIGHT: FORM 25 Binary and Ternary Forms 26 Sonata Form 27 The Rondo PART NINE: MUSIC IN THE TWENTIETH CENTURY AND BEYOND 28 Syntax and Vocabulary 29 New Tonal Methods 30 Non-Serial Atonality 31 Serial Atonality 32 Harmonic Principles in Jazz 33 The Blues 34 Shaping a Song Appendix A: Pitch Appendix B: Rhythm Appendix C: Lead-Sheet Symbols Appendix D: Part Writing Guidelines
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